Scribd Logo
Importer

Bienvenue sur Scribd !

  • Jurgen Habermas, 1980-81, Modernity-An Incomplete Project

    Transféré par

    Arnaud Jammet
    6 vues7 pages
    (la modernité un projet inachevé)

    Titre original

    jurgen habermas, 1980-81, Modernity-an incomplete project

    Copyright

    © © All Rights Reserved

    Formats disponibles

    PDF ou lisez en ligne sur Scribd

    Avez-vous trouvé ce document utile ?

    Ce contenu est-il inapproprié ?

    Signaler ce document
    (la modernité un projet inachevé)

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    6 vues7 pages

    Jurgen Habermas, 1980-81, Modernity-An Incomplete Project

    Transféré par

    Arnaud Jammet
    (la modernité un projet inachevé)

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 7
    Modernity— An Incomplete Project JORGEN HABERMAS In 1980, architects were admitted tothe Biennial in Venice, following [ines and fmmakers. The not sounded at his ist Architetre Biennial ‘was one of disappointment would describe it by saying tha those who exhibited in Venice formed an avantgarde of reversed fronts, I mean that {hey sacrificed the tradition of modernity i order to make room fora new historicism, Upon this occasion, «critic of the German newspapen, Frankfurter Allgemeine Zeitung. advanced 4 thesis whore significance teaches beyond this particular even. itis 2 diagnosis of our times: “Postmodeenty defintely presents self as, Aatimoderity” This state ‘ment describes an emotional curent of our times which har penetrated sl Spheres of intellectual life. It has placed on the ostalightenment,postnodersity, even of posthisory. From history we Know the phrase, "The Ancients andthe Moderns” Let sme begin bY defining these concepts. ‘The term “inodern” has 2 long ‘istry, one which has ben investigated by Hans Robert Jass* The word “modern” in its Latin form “modernus” Was used forthe fist time inthe Tate Sth century im order to distinguish the present, which had become ‘officially Christin, from the Roman and pagan past. With varying content, {he teem “modern” again and again express the consciousness of an epoch ‘hat relates gel othe past of antiquity, inorder to view itself asthe es of 4 easton from the ld fo the new. ‘Some writers reste this concept of “modernity” tothe Renissance, but {his ishistrially too narow, People considered themelves modern during “ee w gly did akin Steer 90 whee aeas wanted heTieoee W Aro prey hein ofr Ieee veda es {Cte he NewS tne rhe Hamas ew Ue Mare tepid vce te Macernay Vers Ponto few German ge 32 {Smee y pein fe hor a epee 4 The Anti-Aestetic ‘he period of Chares the Gratin the 12th century, a well ain France ofthe late 17th century at the time ofthe famous *Querlle des Anciens et des ‘Modernes” That isto sa), the term “modern” sppeared and reappeared exactly during thse periods in Europe when the consciousness of 8 ne {epoch formed ser through a renewed relationship tothe ancients when ver, moreover, antiquity Was considered model o be recovered through ome Kind of imitation, “The spell which the classics ofthe ancient world cast upon the sprit of later times wae first dissolved with the ideale of the French Enlightenent, Specialy the idea of being "modere” by Tooking back to the ancients ‘hanged with the bli, insted by modern science, ‘of knowledge and in'the infinite advance tovar beuerment. Another form of modernist consciousness was formed in the wake of this change. The romantic moderns sought to oppose the antique {deals ofthe clasicits; he looked for s new historical epoch and found iin the idealized Mile Ages. However this new ideal age, extablishedealy in the 19th century, did not remain a fixed ideal. In the course of the 19th ‘entry, here emerged out ofthis romantic spr tht radicalized conscioas- nest of modernity which feed lf from al specific historia tes, This ‘ost recent modernism simply makes an abstract opposition between ration andthe present; and we ace, in away. sill he conterporaies of that kindof aesthetic modernity which frst appeared inthe midst ofthe 19th century. Singe then, the distinguishing mark of werks which count as ‘oder is “the new sich wil be overcome and made obsolete through the novelty of the next style. But, while that whichis merely "tlish” will Soon become outmoded, that whichis modern preserves a secret tet the Classical. Ofcourse, whatever can survive time hs always been considered tobe a classic. But the emphatically modern document no longer borrows this power of being a classc from the authority of past epoch instead ‘modern work becomes a clasic because it has once been authentically tmodern. Our sense of modernity creates its own self-enelosed canons of ‘being classic. In this sense we speak, en View of the history of modern at, of classical modernity. The relation between “modern” and “clas cal has definitely los fixed historical reference. ‘The Discipline of Aesthetic Modernity ‘The spirit and discipline of aesthetic modernity assumed clear contours in the work of Baudelaire. Modernity then onfolded in various avant-garde ‘movements and finally feaced its climan in the Café Voltaire ofthe daaists land i surrealism, Aesthetic modernity is characterized by mitudes which find a common focus in a changed consciousness of time. This time onseiousness expresses itself though metaphors ofthe vanguard and the avant-garde. The avant garde understands self a8 invading unknown territory, exposing itself to the dangers of sudden, shocking encounters, ‘onguering an a8 yet unoccupied future. The avant-garde must find & ‘iection ina landscape into which no one seems to have yet ventured, ‘But these forward gropings, this anticipation ofan undefined future and the cult ofthe new mean infact he exaltation ofthe present The new time consciousness, which enters philosophy inthe writings of Bergson, does Imote than express the experince of mobili in sciet, of aeeeleraton history, of discontinuity in everyday Iie. The new valve placed on the transiory, the elusive apd the ephemetal the very celebration of dynamism,

    Vous aimerez peut-être aussi